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§ THE GLASS FACTORY. §
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¨:=;§#@# SEVERAL CENTURIES AFTER IT HAD LAST #@##&§;=:¨
¨¨:=;§#@ BELONGED TO US, WE WENT ON AN OUTING TO @##&§;=:¨¨
¨:=;§#@# THE GLASS FACTORY THAT BORE OUR FAMILY #@##&§;=:¨
¨¨:=;§#@ NAME. IT HAD CHANGED OWNERS MANY TIMES @##&§;=:¨¨
¨:=;§#@# SINCE OUR ANCESTORS DEATH, AND THEN #@##&§;=:¨
¨¨:=;§#@ STOOD ABANDONED FOR A LONG WHILE. @##&§;=:¨¨
¨:=;§#@# FINALLY, THE NATURAL END STATION FOR #@##&§;=:¨
¨¨:=;§#@ THE BUILDINGS THAT SURVIVE: A MUSEUM, @##&§;=:¨¨
¨:=;§#@# AND A GIFT SHOP. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# THERE'S A LONG TIME SINCE MY FAMILY #@##&§;=:¨
¨¨:=;§#@ MADE ANYTHING. BY MANY, WE WOULD BE @##&§;=:¨¨
¨:=;§#@# CONSIDERED POOR. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# THERE ARE TWO MAIN FACTORY BUILDINGS, #@##&§;=:¨
¨¨:=;§#@ DOMED THINGS OF SEVERAL FLOORS, MADE IN @##&§;=:¨¨
¨:=;§#@# YELLOW BRICK. LARGE BUT NARROW WINDOWS, #@##&§;=:¨
¨¨:=;§#@ REMINESCENT OF SOME CATHEDRAL. @##&§;=:¨¨
¨:=;§#@# CUSTOM-MADE GLASS, OF COURSE, LARGE AND #@##&§;=:¨
¨¨:=;§#@ LEADED, AND ASHEN. A BIT TOO DARK TO BE @##&§;=:¨¨
¨:=;§#@# PRACTICAL. ON THE EASTERN BUILDING, #@##&§;=:¨
¨¨:=;§#@ SOME ARE SHATTERED. @##&§;=:¨¨
¨:=;§#@# #@##&§;=:¨
¨¨:=;§#@ THE OTHER ONE IS PUBLICLY OPEN. THERE'S @##&§;=:¨¨
¨:=;§#@# A MUSEUM, WITH WAX FIGURES OF MY GREAT #@##&§;=:¨
¨¨:=;§#@ GREAT GREAT GRANDFATHER, OR SOMETHING. @##&§;=:¨¨
¨:=;§#@# VARIOUS TOOLS (OR REPLICAS) LAID OUT ON #@##&§;=:¨
¨¨:=;§#@ TABLES, WITH EXPLAINING TEXTS. A LOT OF @##&§;=:¨¨
¨:=;§#@# GLASS OF VARYING THICKNESS. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# §§ #@##&§;=:¨
¨¨:=;§#@ §§ §§ @##&§;=:¨¨
¨:=;§#@# ======= § § ======= #@##&§;=:¨
¨¨:=;§#@ §§ §§ @##&§;=:¨¨
¨:=;§#@# §§ #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# I QUICKLY SNEAK OUT, AND CLIMB INTO THE #@##&§;=:¨
¨¨:=;§#@ OTHER BUILDING. THE CONTRAST IS @##&§;=:¨¨
¨:=;§#@# OVERWHELMING. IT MUST HAVE STOOD #@##&§;=:¨
¨¨:=;§#@ DERELICT FOR A LONG TIME, WINDOWS @##&§;=:¨¨
¨:=;§#@# BROKEN, METALLIC TRASH AND POOLS OF #@##&§;=:¨
¨¨:=;§#@ DARK GLASS ALL OVER THE FLOOR. NO @##&§;=:¨¨
¨:=;§#@# ELECTRIC LIGHTS, BUT I CAN SEE BY THE #@##&§;=:¨
¨¨:=;§#@ LIGHT THAT SHINES IN WHEREVER THE DARK @##&§;=:¨¨
¨:=;§#@# WINDOWS ARE MISSING A PANE. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# HOWEVER, THE GREATEST DIFFERENCE IS THE #@##&§;=:¨
¨¨:=;§#@ HIGHER FLOORS: THIS BUILDING HAS NONE. @##&§;=:¨¨
¨:=;§#@# IT IS ONE MASSIVE HALL, STRETCHING AWAY #@##&§;=:¨
¨¨:=;§#@ INFINITELY ABOVE ME. SOMEWHERE UP THERE @##&§;=:¨¨
¨:=;§#@# IS SOME GREAT IRON LATTICEWORK, FROM #@##&§;=:¨
¨¨:=;§#@ WHERE CHAINS ARE SUSPENDED, AND PARTS @##&§;=:¨¨
¨:=;§#@# OF MACHINERY HAS BEEN FALLING DOWN. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# THERE IS, IN THE MIDDLE OF THE GREAT #@##&§;=:¨
¨¨:=;§#@ HALL, A THIN SPIRAL STAIRCASE THAT @##&§;=:¨¨
¨:=;§#@# LEADS UP THERE. I SNEAK OVER THERE, AND #@##&§;=:¨
¨¨:=;§#@ TAKE A FEW RELUCTANT STEPS. AFTER JUST @##&§;=:¨¨
¨:=;§#@# A REVOLUTION, I NOTICE THAT FOR EACH #@##&§;=:¨
¨¨:=;§#@ STEP THE BUILDING STARTS TO GLOW, THE @##&§;=:¨¨
¨:=;§#@# BRICKS TURNING A DARK RED, AND THEN #@##&§;=:¨
¨¨:=;§#@ ORANGE, ALL THE PILED UP DEBREE BEING @##&§;=:¨¨
¨:=;§#@# LIT FROM BEHIND. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# I STOP READY TO RUN DOWN AND OUT, BUT #@##&§;=:¨
¨¨:=;§#@ THERE'S SOMEONE ELSE ON THE STAIRCASE @##&§;=:¨¨
¨:=;§#@# WITH ME NOW, PRESSED CLOSE. HE'S #@##&§;=:¨
¨¨:=;§#@ LOOKING LIKE ME, SHORT HAIR AND THIN @##&§;=:¨¨
¨:=;§#@# ARMS, BUT WITH EARS FROM SOME ANIMAL, #@##&§;=:¨
¨¨:=;§#@ AND MORE DISTURBINGLY, COMPLETELY MADE @##&§;=:¨¨
¨:=;§#@# OF DARK LIQUID GLASS. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# §§ #@##&§;=:¨
¨¨:=;§#@ §§ §§ @##&§;=:¨¨
¨:=;§#@# ======= § § ======= #@##&§;=:¨
¨¨:=;§#@ §§ §§ @##&§;=:¨¨
¨:=;§#@# §§ #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# MY FEAR HOLDS ME IN PLACE WHILE HE #@##&§;=:¨
¨¨:=;§#@ STARTS OPERATING LEVERS AND DIALS SET @##&§;=:¨¨
¨:=;§#@# IN THE CENTER OF THE STAIRCASE. SLOWLY, #@##&§;=:¨
¨¨:=;§#@ IT STARTS SPINNING, CIRCLING UPWARDS. @##&§;=:¨¨
¨:=;§#@# IT'S AN ELEVATOR! I START TO RUN #@##&§;=:¨
¨¨:=;§#@ DOWNWARDS, BUT NOW THE LIQUID BOY @##&§;=:¨¨
¨:=;§#@# CREATURE GRABS HOLD OF ME. I TRY TO #@##&§;=:¨
¨¨:=;§#@ SHAKE HIM OFF, BUT HE'S TOO STRONG, AND @##&§;=:¨¨
¨:=;§#@# PULLS ME BACK UP BESIDE HIM. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# THIS TIME, I TURN ANGRY INSTEAD. WHAT #@##&§;=:¨
¨¨:=;§#@ THE HELL? WHO IS THIS GUY, ACTING LIKE @##&§;=:¨¨
¨:=;§#@# THIS? I REACH OUT MY FREE ARM AND SLAM #@##&§;=:¨
¨¨:=;§#@ A RANDOM LEVER. SOME METAL BAR IS @##&§;=:¨¨
¨:=;§#@# SUDDENLY RELEASED BETWEEN US, HITTING #@##&§;=:¨
¨¨:=;§#@ HIM ON THE ARM, FORCING MY RELEASE. I @##&§;=:¨¨
¨:=;§#@# SHOVE HIM OFF OF ME, AND HE FALLS INTO #@##&§;=:¨
¨¨:=;§#@ THE LEVERS, MESSING THEM UP. @##&§;=:¨¨
¨:=;§#@# IMMEDIATELY, A THIN RUSTY CHAINMAIL #@##&§;=:¨
¨¨:=;§#@ CURTAIN IS DROPPED AROUND ME. BUT THE @##&§;=:¨¨
¨:=;§#@# ELEVATOR ALSO SPEEDS UP SIGNIFICANTLY. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# THE WALLS ARE FLARING NOW, YELLOW, #@##&§;=:¨
¨¨:=;§#@ WHITE, ALMOST BLUE. I CLOSE MY EYES AND @##&§;=:¨¨
¨:=;§#@# CURL INTO A BALL. BUT THEN, THE GLASS #@##&§;=:¨
¨¨:=;§#@ BOY SCREAMS, A PIERCING SOUND THAT @##&§;=:¨¨
¨:=;§#@# FORCES MY EYES BACK OPEN. I WATCH AS HE #@##&§;=:¨
¨¨:=;§#@ BECOMES TOO LIQUID, HIS BODY POOLING @##&§;=:¨¨
¨:=;§#@# DOWN IN HIS NOW MASSIVE TAIL, AND THE #@##&§;=:¨
¨¨:=;§#@ TIP OF IT SUDDENLY BREAKS OF IN A GLASS @##&§;=:¨¨
¨:=;§#@# DROP THAT FALLS TOWARD THE FACTORY #@##&§;=:¨
¨¨:=;§#@ FLOOR. @##&§;=:¨¨
¨:=;§#@# #@##&§;=:¨
¨¨:=;§#@ HE'S CRAWLING ON THE STAIRS, UNABLE TO @##&§;=:¨¨
¨:=;§#@# KEEP HIS BODY UPRIGHT. CAN'T REACH THE #@##&§;=:¨
¨¨:=;§#@ LEVERS, CLAWS AT MY CHAINMAIL CAGE, @##&§;=:¨¨
¨:=;§#@# WHILE HIS BODY IS TURNING INTO DARK #@##&§;=:¨
¨¨:=;§#@ PEARLS. FINALLY, HE'S LOST TOO MUCH OF @##&§;=:¨¨
¨:=;§#@# HIMSELF AND THE SCREAM IS CUT SHORT. #@##&§;=:¨
¨¨:=;§#@ THE LAST OF HIM RAINS DOWN. @##&§;=:¨¨
¨:=;§#@# #@##&§;=:¨
¨¨:=;§#@ I STILL CAN'T REACH THE LEVERS FROM @##&§;=:¨¨
¨:=;§#@# WITHIN MY CAGE. LOOKING UP, I TRY TO #@##&§;=:¨
¨¨:=;§#@ MAKE OUT THE CEILING, BUT IT'S ALL A @##&§;=:¨¨
¨:=;§#@# WHIRLING SEA OF COLOURS. BELOW ME GLOWS #@##&§;=:¨
¨¨:=;§#@ THE HELLFIRE OF THE FACTORY WALLS, BUT @##&§;=:¨¨
¨:=;§#@# VERY FAINT. I SIT DOWN, CURL BACK UP, #@##&§;=:¨
¨¨:=;§#@ BECOME STILL. @##&§;=:¨¨
¨:=;§#@# #@##&§;=:¨
¨¨:=;§#@ §§ @##&§;=:¨¨
¨:=;§#@# §§ §§ #@##&§;=:¨
¨¨:=;§#@ ======= § § ======= @##&§;=:¨¨
¨:=;§#@# §§ §§ #@##&§;=:¨
¨¨:=;§#@ §§ @##&§;=:¨¨
¨:=;§#@# #@##&§;=:¨
¨¨:=;§#@ A LARGE CLUNK SHAKES MY ENTIRE BODY, @##&§;=:¨¨
¨:=;§#@# AND SNAPS ME BACK INTO REALITY. I'M #@##&§;=:¨
¨¨:=;§#@ BACK AT THE FACTORY FLOOR, BUT THE @##&§;=:¨¨
¨:=;§#@# STAIRS ARE STILL MOVING SLIGHTLY, #@##&§;=:¨
¨¨:=;§#@ CLICKING IN PLACE, CARRYING ME THE LAST @##&§;=:¨¨
¨:=;§#@# FEW CENTIMETERS. I CAME FROM BELOW, #@##&§;=:¨
¨¨:=;§#@ SOMEHOW. THE CHAINMAIL IS RETRACTED, @##&§;=:¨¨
¨:=;§#@# AND I SLOWLY DISMOUNT THE STAIRS. #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# SHAKING AND CRYING, I MAKE MY WAY OVER #@##&§;=:¨
¨¨:=;§#@ THE FACTORY FLOOR, WADING THROUGH DARK @##&§;=:¨¨
¨:=;§#@# GLASS MARBLES. A QUICK GLANCE DOWN, AND #@##&§;=:¨
¨¨:=;§#@ I SEE THERE'S SOMETHING FAINT INSIDE @##&§;=:¨¨
¨:=;§#@# THEM. EMBRYOS? ARE THESE EGGS? #@##&§;=:¨
¨¨:=;§#@ @##&§;=:¨¨
¨:=;§#@# I SHUDDER, AND CLIMB BACK OUT. #@##&§;=:¨
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